Natalia Domínguez Rangel is a Colombian/Dutch visual sound artist and music composer currently living and working inVienna and Amsterdam. Her practice includes making sculptures, installations, and performances, her work delves intothe intersection of sound and sculpture.
Her fascination by the connection between sound and sculpture, and how these two mediums can blend together to create a unique sensory experience. In her research, she envisions sculpture not merely as static forms, but as dynamic acoustic “sanctuaries” – intimate shelters meticulously designed to encapsulate the essence of distinct sound concepts or recordings. Each piece becomes a reverberating chamber that echoes with the whispers of sound memory or the the playful idea of silence. Her work responds directly to the surrounding environment and uses everyday listening experiences as a starting point and as well the acoustic impacts in our environment. Central to her work is an interest in body autonomy, empowerment, inclusivity, and solidarity, as well as the materiality of both sculpture and sound. Sheemphasizes the importance of acoustic agency, dedicating their efforts to amplifying silenced voices and broadening the scope of listening to encompass ecologies beyond anthropophony.
Domínguez Rangel has exhibited her works throughout Europe and America and America (The Netherlands, Austria, Norway, Italy, Switzerland, Czech Republic, Spain, New York City, Mexico City, Bogotá between others). She forms part of the female collective “laschulas” an assemblage of musicians, sound and visual artists and curators. She is a docent in the field of sound studies since 2017 at Design Art Technology department of ArtEZ, Arnhem, NL. Domínguez Rangel is also the winner of the music composition prize Tera de Marez Oyens in The Netherlands. Has taught and given lecturesat Columbia University in New York city (USA), Universität für Musik und Darstellende Kunst (mdw), Die Angewandte and the Akademie der bildenden Künst in Vienna (AT). At the moment she is one of the finalist from the prestigious Mario Merz prize ran by Fondazione Merz (IT).